Edgar Wright has always been the guy with the record collection and the quick-cut editing. He’s the director who made us love zombie comedies and heist movies synced to upbeat rock tracks. But when he released Last Night in Soho in 2021, things got weird. It wasn't just a change of pace; it was a total tonal shift into Giallo-inspired psychological horror that left some people cheering and others scratching their heads. Honestly, the film is a gorgeous, neon-soaked mess that tackles some pretty heavy themes about nostalgia and the "good old days" that weren't actually all that good.
You’ve probably seen the trailers. Thomasin McKenzie plays Eloise, a fashion student who can somehow travel back to the 1960s in her dreams. There, she witnesses the life of Sandie, an aspiring singer played by Anya Taylor-Joy. It starts out as a glamorous escapade through London's West End, but things sour fast. Like, really fast.
The Problem With Romanticizing the Past in Last Night in Soho
The central hook of Last Night in Soho is the idea that the past is a trap. Eloise is obsessed with the 60s—the music, the dresses, the vibe. She moves to London from a quiet rural town and finds herself completely out of step with the modern world. When she starts "becoming" Sandie in her dreams, she thinks she’s found her tribe.
But Wright is clever here. He uses the 1960s aesthetic to lure you in, just like it lures Eloise. We see the bright lights of the Cafe de Paris and the shimmering silver dresses. Then, the movie starts showing the grime. The 60s weren't just Cilla Black songs and beehive haircuts; they were rife with systemic misogyny and predatory behavior. Sandie’s dream of becoming a star is systematically dismantled by a sleazy manager played by Matt Smith.
This is where the film gets its bite. It challenges the viewer’s own nostalgia. We often look back at previous decades through a filtered lens, ignoring the parts that were actually quite horrific for anyone who wasn't a man in power. Wright isn't just making a horror movie; he’s making a critique of our collective memory.
Visual Storytelling and the Mirror Trick
Technically, the movie is a masterpiece. There is a specific dance sequence in a nightclub where Eloise and Sandie swap places mid-spin while dancing with Jack (Matt Smith). It’s not CGI. It was done with practical choreography and clever camera movements. It’s breathtaking.
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- The use of red and blue lighting signifies the shift from reality to nightmare.
- Mirrors act as the literal portal between the 2020s and the 1960s.
- Sound design blends modern muffled city noises with crisp, high-fidelity 60s pop.
This visual flair is what kept people talking even when the plot started to polarize. You can't look away from it.
Why the Third Act Sparked So Much Debate
If you talk to any film nerd about Last Night in Soho, they’ll eventually bring up the ending. No spoilers here, but the shift from a psychological thriller to a full-on supernatural slasher felt jarring for many. Some critics felt it abandoned the nuanced take on trauma in favor of jump scares and CGI "ghost men."
I get that. It’s a huge swing.
The movie shifts from being about a girl losing her mind to a story about a literal haunting. Some found the resolution of Sandie’s arc to be problematic, arguing it didn't fully reckon with the trauma it depicted. Others, however, saw it as a bold homage to Italian horror films of the 70s—movies that cared more about style and visceral emotion than tight, logical plotting.
The Casting Was Actually Perfect
Thomasin McKenzie carries the emotional weight. She has this wide-eyed innocence that makes her descent into paranoia feel genuine. Then you have Anya Taylor-Joy, who is basically the human embodiment of 60s glamour. She plays Sandie with a mix of fierce ambition and tragic vulnerability.
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And let’s not forget the legends. This was the final film role for Diana Rigg, and she is terrifyingly good. Terence Stamp also shows up as a mysterious old man who might or might not be a killer. The presence of these icons of 60s cinema adds a layer of meta-commentary that you just can't manufacture. They are the living remnants of the era Eloise is so desperate to inhabit.
The Real Soho vs. The Cinematic Soho
Soho has always been the heartbeat of London’s nightlife, but it’s changed. A lot. In the film, Eloise walks through a Soho that is rapidly being gentrified. The old sex shops and gritty clubs are being replaced by high-end coffee shops and chain restaurants.
Wright filmed on location, often at night, capturing the real streets. There’s a certain sadness to it. The movie captures the "ghosts" of the city—not just the literal ones in the story, but the ghosts of what Soho used to be. It’s a place built on layers of history, much of it dark.
If you go to Soho today, you can still find some of the spots mentioned. The Toucan pub is a real place. The streets Eloise runs down are the same ones where the Krays used to hang out. By grounding the fantasy in real geography, the horror feels a bit more personal.
Lessons for Film Lovers and Creators
What can we actually take away from Last Night in Soho? First, it’s a lesson in bold swing-taking. Edgar Wright didn't play it safe. He took a massive budget and made a weird, divisive, female-led horror movie that looks like nothing else in his filmography.
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For creators, it shows the power of practical effects. That dance scene? That’s what people remember. Not a big CGI explosion, but a well-timed camera move and a hidden door.
For viewers, it’s a reminder to question our nostalgia. Next time you find yourself wishing you lived in a different decade, think about who that decade was actually "good" for. Usually, the answer is a much smaller group of people than we like to admit.
The film serves as a cautionary tale: if you spend too much time looking in the rearview mirror, you’re going to crash into what’s right in front of you.
Actionable Insights for Your Next Rewatch
If you’re going to watch it again, or for the first time, keep these things in mind to get the most out of the experience:
- Watch the reflections. Almost every scene involving a mirror has a subtle detail that changes between the "real" world and the "dream" world.
- Listen to the lyrics. The soundtrack isn't just background noise. The songs chosen often narrate exactly what Sandie is feeling or what is about to happen to her. "You're My World" hits a lot differently when you see the context of the scene.
- Notice the fashion progression. Pay attention to Eloise's hair and clothes as the movie progresses. She begins to physically transform into Sandie, losing her own identity in the process.
- Look for the cameos. Beyond the main stars, there are several nods to British 60s culture that only true enthusiasts will catch.
Ultimately, Last Night in Soho is a movie about the dangers of being a fan of a past you never lived through. It’s messy, it’s loud, and it’s beautiful. It’s not a perfect movie, but those are often the most interesting ones to talk about. Go in for the style, stay for the debate, and maybe keep the lights on when you go to bed.
The best way to appreciate what Wright did is to look at it as a genre experiment. He tried to fuse the energy of a musical with the dread of a slasher. Whether he stuck the landing is up to you, but you can't deny the craft involved in the attempt. If you want to dive deeper into the genre, look up "Giallo films" like Suspiria or Deep Red. You'll see exactly where Wright got his inspiration from, and it might make the ending feel a lot more intentional.